How did the idea of creating an intuitive method for the piano come about?

In March, those of the editorial Ilus Books contacted me and made a proposal to make this method. In the state, they made the same proposal as twelve musicians, and in the end they chose my project. I thought it was nice, because I have always worked with my students this kind of exercise. The idea is that from the very beginning anyone can play the chords of the 49 modern songs depicted in the book. Learning the four basic chords and with different rhythms, we can play almost any song. In addition, the book is very well illustrated and everything is easily understood. Here the melody doesn't appear. This is thought of as an accompaniment, to sing or to play with the recording of the song, not to suddenly turn it into a great pianist. This is not magic. I just wanted to teach people the easiest way to take a base.

When we're studying music, it seems that first we have to learn how to read and write music and that the instrument is the last experience, but that doesn't have to be the case. In many other places, like Africa, the relationship with music is very different. Here it seems you have to know a lot to start playing, but if you lengthen the process, in the end it becomes somewhat unnatural. It's a mistake in our education system. It is based on the virtuosity of the 19th century and it seems that everyone has to be a concertionist, but not everyone wants to be a concertionist. I, for example, have always wanted to be a composer, like my father.

Why?

What I love the most is to imagine things: paintings, stories and even music. I started composing musical pieces at the age of 10, as a game. I played them at the beginning, and then I started writing. I also like to paint. I doubted, because I didn't know how to finish piano studies or do fine arts.

Why do you attach so much importance to improvisation?

For me, improvising is like talking. If I play all of a sudden in music with somebody, we're talking and enjoying, but in conservatories, the way to work is to get them to teach me things about memory. If you ask a question to someone who is studying with this system, they can't answer. I think that is a mistake. We seem to master the language, but we cannot speak with our instrument. We have to change. In many other places they play with music, they improvise constantly. What we need to reinforce is to create that communication. Breaking the fear and inviting people into the music world. But many times the teachers don't want, because they're afraid of it. That's why they teach what they learned. When I realized, very soon after I started teaching, I began to change my way of teaching. I've learned a lot by teaching. My wisdom was like a gruyere cheese, and I've been filling in the gaps that I had when I was teaching. I've been very happy.

However, after 18 years he has stopped teaching. Why?

I was tired and I needed a change. It has been difficult to make a decision, but now I am happy. It made me sad because those at school are my friends, almost my family. But only those who have ever given class know the energy they spend. I love giving classes, but it's creating my calling.

I needed time to play the piano, to travel, to read, to paint… I have made music for a scapegoroom and a theater play that has recently been done at the Gayarre Theatre, and I have had the opportunity to go to essays, for example. That is what needs to be done if you want to achieve an excellent result. Running and rushing is not good. On the other hand, in the last three projects I have been asked to record the live sound as well, and for that we have to make a lot of trips.

What do you have more time of freedom or stupidity?

Of the two, but I am so happy. If I just did one thing, I would be out of balance and I don't want to lose the energy of live performances.

What projects do you now have?

I've just arrived from the United States. I have participated in a workshop with the Navarro Chilean group La llave maestra. It was very interesting. On my return I've done an interesting two-week course to make soundtracks of video games, theater and film in San Sebastian with Paula Olaz.

Now I'm in four movies. The last of the Mexican, with Patxi Uriz, in the project of Ultreia Films, a film that aims to promote the recovery of the vegetable gardens of the Ribera de Navarra and raise awareness of the need to return to healthier eating habits. On the other hand, in a minute your life changes, a book written by Sandra Iraizoz, who made the production of Sons of the Earth, they want to take it to the movies in a co-production between Colombia and Brazil and there I am. The third feature is Penance, by Pili Múgica, a work on prison and social reintegration. And the fourth is Oskar Tejedor's fiction short film. I'm very happy because most of my work has been documentary, and this is fiction.

You also want to go to England.

In addition, I am preparing my most personal project with a singer from Euskal Herria. We're working on the British pop with an electronic touch. We started three years ago, and we soon want to take another step in England. I have a lot of other ideas in my head. I want to adapt the compositions I've created for films and plays, to give them with the Zura Quartet string quartet in Pamplona. I with them will play the piano and the synthesizers and we'd like to make an image montage, explaining when and why I've done all this music. I want to do a kind of pedagogical concert. I love to play in public.

What was THC?

THC was the funk-jazz group that we founded in Pamplona in 1999. We recorded a mockup and two discs, until nine years ago we got rid of the group.

And Garufa Tango?

We created the Garufa Tango group by joining voice and piano, offering a classic tango repertoire in Euskal Herria and Italy. With this project, I made a season in Buenos Aires to delve into this musical style.

Is the best soundtrack in a movie that you can't notice?

They say that after watching the movie very comfortable, if you don't remember the music, that means it was well located. Music should not be above or outside. The authors' intention is to give a new dimension to the film. In fact, there are stories that don't get well without music. Music has to help the movie. Here music is not a protagonist, like in a concert. We have to help in a video game and in a movie to reinforce the director's goal, so we have to put our ego in the background.

As for the market, how is this profession?

Over the past four years, I've made musical compositions for five films and five plays, and I've increasingly seen that that's my way. After winning the Goya to Sons of the Aunt, many people here have started to take into account my work. It seems that sometimes a certain prize is needed for people to see that the work done here is also good.

On the other hand, in its day a great opportunity emerged for music composers with film and now the same is happening with video games. Video games have a higher budget than movies. They say that in Spain half of the population plays with this type of games every day. There's an amazing market. Sometimes they also have soundtracks recorded with symphony orchestras. In a normal movie, we can plug music from 40 to 45 minutes, but in the video game maybe 30 or 40 hours. I composed music for a video game and it was a very nice experience. I really like games and they offer great opportunities.

How do you make a soundtrack?

The first step is to talk a lot with the director and try to understand his intentions. We usually make music when the film is finished, but sometimes we are asked for a full composition or a few references, at least before the film is finished, to enter the mounting phase. Sometimes, before I do anything, I think about the music that I would like to hear if I were in the movies. Craft work takes time and mastery of your tools, of course. What costs the most is to capture the idea.

We have relative freedom. We have to be very clear about who the director is and always leave the ego at home. I really like to improvise with painters or dancers, for example. You don't have to look at artistic disciplines separately, because at the end of the day the world of feelings is the same. This sensitivity has the same root and it is very enriching to mix disciplines.

How do you see the overall picture of music here?

I think that in the region of Pamplona, in Navarre in general, great artists are being formed, but sometimes we have to go outside to check. We were recently in the United States with the theater group La llave maestra and there was nothing short of seeing how they received us. People have been very surprised by the level.

In Navarre there are many bands, but most of them play similar styles: rock, punk, punk rock, progressive rock, pop-rock… 80% are those styles. I'd like to develop different styles. Electronic music grows very little here, for example. It is made ska and reggae since Skalariak opened that road and today we have good teams, such as Vendetta or En tol sarmiento. However, when you go outside and you see what things are done, you think, and why not in our house. I would like the picture here to be more universal, but in spite of everything there is a very high level. In jazz, for example, we have very good musicians. In the state, the expensive Alberto Arteta is impressive. We won the Goya with Patxi Uriz, but last year also won another Navarro, Raul de la Fuente. I think there is a nice and dignified picture to be proud of. Culturally, we often complain that there's not a lot of help or that there's too little done, but it's also true that a lot of things are programmed and we don't go. We repeat that the cultural offer is small and sometimes not true. The OLITE theater festival, for example, is great. I, too, complain many times, but then, seeing the Gaiarre or Baluarte programming, you have to recognize that there are many things and very good.

How is ethnic Basque music valued out of here?

For example, Oreka TX in the United States is a great success. Mine is not Basque music itself, but I always put some features, for example, a bit of txalaparta. Among us many times we see our music with contempt and then out we are told that we have a very rich culture. I love blends, for example, by Kepa Junkera. Conducting tests is always good and also when the result is satisfactory, wonderful. Not everything is invented. The notes may be yes, but the combinations are endless. In the kitchen are also invented all the ingredients, but you can always make new dishes.

Do you put the soundtrack on your life every time?

It happens to me that I do, that I put music to things, or that when I am reading a book I imagine music… In those cases, I often use it to record on my phone and save it for something.

Is the father happy that you've followed his path?

My father is very happy. We have always had a wonderful relationship, but before he was a teacher and I was a student and now he considers me a teacher. Many times when he finishes a concert he asks me for my opinion. It's very nice.